FUNDAMENTAL HARMONY

Dr. Declan PlummerLesson 6: Six Steps to Chorale Harmonisation

Six Steps to Chorale Harmonisation1. Identify the key of the phrase and write out the triads (including your

supertonic-seventh and your dominant-seventh chords).

For example in G major: these are the triads you can use:

I ii iii IV V vi viio

ii7 V7

2. Identify the phrases in the melody line, in particular, where the cadential material (with pre-dominants) begins and ends and where the pre-cadential material begins and ends:

Six Steps to Chorale HarmonisationSix Steps to Chorale Harmonisation3. Using the melodic line, decide what cadences can be used, the add

the labels (Roman numerals and figured bass) and write the bass line for the cadences. Remember cadences should be in root position, but pre-dominants can be inverted.

Six Steps to Chorale Harmonisation

I V I ii6 V7 I

4. Fill in the remaining voices by adding the alto and tenor parts, while observing good smooth voice leading!

Six Steps to Chorale Harmonisation

I V I ii6 V7 I

5. For the pre-cadential material, identify the implied chords for each phrase:

• The C neighbour note implies a neighbour progression using a V7 chord

• The C passing note implies a passing progression

Six Steps to Chorale Harmonisation

63

63

I V I ii6 V7 II V I 65 V I6 viio6 I

Six Steps to Chorale Harmonisation

6. Fill in the remaining voices by adding the alto and tenor parts, while observing good smooth voice leading!

I V I ii6 V7 II V I 65 V I6 viio6 I

• The harmonic relationship between chords V and I is important: the principle can be expanded beyond authentic cadences

• A progression can be formed in which all the roots of the chords share this relationship: this creates a circle of fifths which is very common in all tonal music

Circle of Fifths

I IV viio iii vi ii V I

A Circle of Fifths is a progression in which all the chords share a V-I relationship with the roots rising in 4ths or falling in 5ths.

Circle of Fifths

V - I

From this we can see that vi is another good pre-dominant chord to use in partnership with chord ii.

V - IV - I

V - IV - I

V - I

‘Normal’ Progressions using Circle of Fifths(Major Keys)

iii viii V

IIV viio

Pre-Dominant Function Group

Dominant Function Group

A Circle of Fifths is a progression in which all the chords share a V-I relationship with the roots rising in 4ths or falling in 5ths.

Circle of Fifths in Minor Keys

V - iV - i

V - iV - i

V - iV - i

From this we can see that VI is another good pre-dominant chord to use in partnership with chord iio.

‘Normal’ Progressions using Circle of Fifths(Minor Keys)

III VIiio V

iiv viio

Pre-Dominant Function Group

Dominant Function Group

VII

Relative Major

V inrelative major

Secondary 7th ChordsTonic I7 i7 Not at all common, though occasionally

occurs and almost always root position

Supertonic ii7 iiø7 Very common!! Almost always in first inversion

Mediant iii7 III7 Very rare! When it does occur, almost always in root position

Subdominant IV7 iv7Not at all common, though occasionally occurs and almost always root position

Submediant vi7 VI7 Not at all common, though occasionally occurs and almost always root position

Subtonic VII7 Common in minor keys, sounds like V7 of the relative major!

Leading-Note viiø7 viio7 viiø7 is not unheard of, but it’s not very strong and is often replaced by viio7

Scale Degree Major Keys Minor Keys Frequency

Dominant V7 V7 Most popular seventh chord because it defines keys!

Dominant 7th Chord

The 7th in all secondary 7th chords needs preparation in previous chord

Dissonance & Secondary 7th Chords

• supertonic is in first inversion• the 7th has been prepared• and (like all 7ths) the 7th also needs to fall

I ii 65

prepared

Preparation in Secondary 7th Chords

F major ii vi ii V7 I65

C major: I6 I6 ii7 viio6 I

A major: iii vi7 ii7 V7

0:11

Start

B$ major: vi6 IV I6 ii7 65 C minor: iv7

Drew

3:25

0:21

Start